That was easily answered. We love opera. Elizabeth's daughter Karen and her family visited the Minack Theatre in Cornwall two years ago. They were impressed even though no performance was available at the time. They said we should go. Our timing was right. So we booked it.
Elizabeth's son Brent and Carryne live in Switzerland.
"We are taking you to the Wachau in Austria," they said.
"We could spend time in Vienna; it's not far away. Would you like to go?"
Would we ever! Vienna means opera. So we booked that too.
A month later, Carryne phoned. "It's 2010," she said. We knew that, and said so. "You don't get it," she said.
"Oberammergau is on every decade: this is it, and we are going near there. Do you want to go?"
We've known about the passion play since childhood, but it had not occurred to us we might go. So Act 3 was booked.
After time with other family and friends, we arrived in Cornwall. En route we visited the Eden Project, a wonderful transformation of wasteland into an ecologically sustainable environment, making a fascinating educational experience.
It opened in May 2000 as a series of "lands" within huge geodesic "biomes". The rainforest dome alone could hold the Tower of London within its structure. Another display dealt with the problem of waste electrical and electronic equipment (Weee). As household objects become outdated and replaced by new machines or gadgets, the problem of what to do with the old stuff grows exponentially.
A Gilbertian solution is offered: turn it into sculpture! A huge, 10m-tall "Weee man" was constructed from three tonnes of old computers, washing machines and junk. Another massive 5m construction was more functional: it cracked chestnuts!
We realised we were in Gilbert and Sullivan territory as we drove further south, passing through Penzance. No pirates appeared but we did not stop, just in case.
The Minack Theatre is unique. It is an outdoors venue built into the cliffs on the coast. We arrived early for the afternoon performance, with time to appreciate the view and reflect on the effort it took to establish.
Beyond the stage is the English Channel. Gannets and gulls wheel, and the sea constantly rolls in against the rocks. Rowena Cade's dream was to construct the venue in a gorse-filled rocky gully. Doing so took from 1931 (when she was 37) until she died in 1983.
Even waiting for the performance, reflecting on what she accomplished was delightful. We were just six rows from the stage. There was no breeze, and warm sun gave it a perfect setting. Where else could we wait for a performance and be totally enchanted by the view?
The theatre engages different groups for performances across the summer season. By good luck, we were there for the Truro Operatic and Dramatic Society presentation of The Hot Mikado, a jazz version of the Gilbert and Sullivan original.
The first scene began in almost the traditional manner. Three little maids wearing kimonos entered, singing that trio. But soon their faces registered horror as a troupe of jazzily dressed Americans appeared and launched full-volume into the opening number. Instead of singing it as Sullivan wrote, it was 1960s blues style.
For the next two hours we laughed more and more, as Gilbertian twists translated into contemporary interpretations.
We were delighted to see this version of The Mikado, although the original will never be the same again. The Minack setting was perfect, as was the weather. Just as well. If it rains, the performances are cancelled.
The Oberammergau Passion Play performance started at 2pm, had a meal break at 5.30pm, and resumed at 7pm, finishing at 11pm. It is a huge task for the local and surrounding village people to organise the event, as the season lasts several months.
The story behind the passion play is fascinating. In 1633, the region suffered from the plague. Many died. The people of Oberammergau made a vow to portray the passion, death and resurrection of Jesus every 10 years if they were spared. History records not one person succumbed to the Black Death, then or subsequently.
These days, the auditorium seats 4000. The village has a population of about 4500. Half of them are involved in the production. Nearly 1000 appear on stage, and another 1000 are involved as musicians, stage hands, costume people, venue support, and so on.
To that can be added those in surrounding villages providing accommodation, hospitality, food and support.
The script is constantly revised to reflect changing theological and political ideas. Recent productions give a less anti-Semitic sense to the story than in the 1930s, the changes reminding us we were near Hitler's territory.
The total commitment of the village and nearby area to presenting the story and catering for the visiting crowds gives new significance to the events it portrays, 2000 years later. It is a miracle of co-operation.
People crowded on to the stage, about 500 of them in some scenes. The Roman soldiers provided an ominous background to ordinary community activities, resistance to military power, and resistance to the demands made by the Jewish leaders themselves.
Jesus was presented as a real man, who listened to his friends and followers, and guided, chided, debated with them. His kiss with Mary Magdalene was a real kiss: there was quite a murmur around the audience!
In the centre is a stage-within-a-stage. From there, "tableaux vivants", or living images with motionless actors, provided an opportunity to reflect on the biblical episodes represented.
The highlight for us was the Last Supper. Of course we knew what was being said, although in German. Reading the English text later revealed what we know as "The Lord's Prayer" was spoken not by Jesus alone, but was a conversation among the disciples.
To begin the meal, John said, "This is the day the Lord has made." Then Jesus prayed, "Our Father in the heavens, your name be holy, your kingdom come." Philip added "On Earth your will be done, as it is in heaven."
The conversation continued. Thaddeus looked at the bread, saying reverently, "Give us each day the bread we need!" Then, another said, "Forgive us our sin, as we forgive those who have sinned against us."
Who spoke that? Judas. It was masterly drama to have the line spoken by the one who soon would have the greatest need for forgiveness.
The passion play also portrayed the real human emotions and dilemmas Peter and Judas, Mary Magdalene and Mary the mother of Jesus experienced.
Judas, for example, was deceived by Caiaphas, whose honeyed words suggested he simply wanted to protect Jesus from the Romans. "Is it not written," Caiaphas said to Judas, quoting scripture, "you shall not seek vengeance?" He reassured him soothingly: "I want to search for him the way a shepherd searches for his sheep if they have strayed from the flock."
Later, in despair, Judas yelled to Caiaphas, "You have made me a traitor!" and threw the blood money at his feet. Caiaphas, the politician, simply said, "Why did you allow yourself to get carried away to do something you had not considered beforehand? You betrayed your friend. I am pursuing an enemy."
Perhaps the greatest compliment to any drama is to say it took a story and made it real, giving insight into the political and human pressures experienced by those portrayed. Brent said, "You told us all those stories when we were in Sunday School, Mum, but you never gave us the whole picture and what it all really meant!" Carryne added it was the most life-defining drama she had experienced. We agreed.
We headed for the Wachau Valley in Austria. Our week there was wonderful. But that's another story. We moved on to Act 3, the beautiful old Vienna Staats Oper house to see La Forza del Destino.
It is a dark, dramatic tragedy. The daughter of a nobleman falls in love with a South American prince, and a complex chain of events follows.
During the overture, a fine screen in front of the curtain had a video of a meandering butterfly, and other images. Late in the overture the butterfly causes a wheel to revolve, which causes a gun to be aimed and a bullet to be fired. Its trajectory takes it to a man, hitting him in the heart.
It was a powerful symbol of randomness of the forces of destiny expressed in the opera. It was dark drama. Despite that, the music, the performances and the experience were simply magnificent.
So our trip of three very different dramas, and really great family time, came to an end. The journey may be over. The melody of it all lingers on.
• Bruce and Elizabeth McMillan live in Mosgiel.
